My photographs from the series World Was in the Face of the Beloved are about a character who is becoming one within the given landscape. She is someone who is okay with who they are and where they are in the world, while at the same time, she questions her place in the universe. She is my protagonist. There is certainly the suggestion of spiritual tranquility in the photographs. I want my photographs to offer a respite from all the courser conundrums of humanity.

I want these photographs to speak about ideas of beauty: the beauty of this woman; the beauty of the specific style of clothing which speaks so much of Stacy's character; the beauty of the landscape and the figure relating to that space; the beauty of color relationships; and also about the beauty of analog photography. There are aspects of portraiture in the work, as well as self-portraiture and fictional narrative. I want to blur the line between these different strategies, creating a hybrid of the three. There are also numerous art historical and cultural references embedded in this series of photographs, which offer further complexities.

My previous work has involved contemplation and exploration into the nature of human relationships while making narrative photographs. In past series I have examined the connection to family, looked at the bond between couples, addressed ideas of masculinity in a portrait series of men, and more recently combined photographs of seemingly disparate subjects to suggest metaphysical and sexual interactions. The images of my wife continue this investigation.